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“Ted Rall, mop-headed antiestablishment political cartoonist, has abundant talent, a 1,400-drawing portfolio, seven years’ experience, the acclaim of peers and the approval of newspaper editors who, every so often, print his work. What he lacks is someone who will hire him full-time.”

That’s from The New York Times.

In 1995.

Editorial cartooning, a unique art form whose modern version originated in 18th century France and has become more pointed, sophisticated and effective in the United States than any other country, was in big trouble back then. Newspapers, the main employers of political cartoonists, were closing and slashing budgets. Those that survived were timid; cowardly editors rarely hire, much less retain, the controversial artists who produce the best cartoons, those that stimulate discussion.

Things are worse now.

Much worse.

Hard numbers are difficult to come by but the number of full-time professional political cartoonists now hovers around 30. In 1980 there were about 300. A century ago, there were thousands.

Cartoonists blame tightfisted publishers and shortsighted editors for their woes. Many decry news syndicates for charging low rates for reprinted material. “If an editor can get Walt Handelsman and Steve Kelley for ten bucks a week, why would he pay $70,000 a year for a guy in his hometown?” asked Handelsman, then the cartoonist for The New Orleans Times-Pacayune, in the 1995 Times piece cited above.

There’s also the Internet. As happened across the world of print media, the Web created more disruption than opportunity. Dozens of cartoonists tried to sell animated editorial cartoons to websites. Two succeeded.

Digitalization decimated the music business, savaged movies and is washing away book publishing. If the titans of multinational media conglomerates can’t figure out how to stem the tide, individual cartoonists who make fun of the president don’t stand a chance.

We can only control one thing: the quality of our work. It pains me to admit it, but to say we’ve fallen down on the job would be to give us too much credit.

We suck.

Day after day, year after year, editorial cartoonists have been churning out a blizzard of hackwork. Generic pabulum relying on outdated metaphors—Democratic donkeys, Republican elephants, tortured labels, ships of state labeled “U.S.” sinking in oceans marked “debt,” cars driving off cliffs, one hurricane after another, each labeled after some crisis new or imagined. Cut-and-paste art styles slavishly lifted from older cartoonists down to the last crosshatch. Work so bland and devoid of insight or opinion that readers can’t tell if the artist is liberal or conservative. Cartoons that make no point whatsoever, such as those that mark anniversaries of news events, the deaths of corporate executives like Steve Jobs, and even holidays (for Veterans Day: “freedom isn’t free”).

To be sure, editors and publishers have hired and promoted the very worst of the worst. Prize committees snub brilliance and innovation in favor of safe and cheesy.

In the end, however, it’s up to the members of any profession to police themselves individually and collectively. I often say, no one can publish your crappy cartoon if you don’t draw it in the first place. Amazingly my colleagues have chosen to ignore the existential crisis that faces American political cartooning. Rather than rise to the challenge, their work is becoming even safer and blander.

Moreover, we cartoonists are failing to hold one another to basic journalistic standards. This year political cartooning has been hit by two plagiarism scandals. David Simpson, a long-time Tulsa political cartoonist with a history of this sort of thing, was fired by the weekly paper there after he got caught tracing old cartoons by the late Jeff MacNelly on a lightbox. Jeff Stahler, a cartoonist familiar to readers of USA Today, was recently forced to resign by The Columbus Dispatch after long-standing rumors of stealing ideas exploded into a series of too-close-for-comfort pairings of his work and classic material from The New Yorker.

They’re only the tip of the iceberg.

There are plagiarists who have Pulitzer Prizes sitting on their shelves. There are even more “self-plagiarists”—people who shamelessly recycle the same exact cartoon, changing labels on the same image in order to meet a deadline. They shortchange their readers and their clients—and collect the biggest salaries in the business.

Meanwhile, it is impossible for the “young” generation of talented cartoonists who came out of the alt weekly newspapers—those under 50—to find work at all.

Within the mainstream of the profession the general consensus is that we should keep quiet and wait for the storm to pass. They make excuses for serial plagiarists, self-plagiarists, and hacks. At this writing the professional association for political cartoonists, which in 2009 imposed its first penalty for plagiarism in its 50-year history under my presidency, has still failed to act to enforce that rule or issue a code of ethics.

“This is bad for the profession,” I heard from more than one colleague after the Stahler story broke. “Let’s be quiet.”

No.

What’s bad for the profession is bad work. How can we expect editors and publishers to respect us unless we respect ourselves?

A new blog, badcartoonist.com, has sparked controversy and discussion among editorial cartoons over what constitutes good and bad editorial cartooning. Those of us who draw in modern, post-MacNelly styles don’t understand how the brains of retro cartoonists work.

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Books By Ted Rall:

Publication Date: March 13, 2018Order at Amazon!He thought his church career was drawing to a close. Then he was asked to take over a Catholic Church in crisis.Religiosity was in decline in the West. And the Catholic Church was in bigger trouble than any other institution you could think of. Losing parishioners, shrinking in power and prestige and discredited by corruption and sex…

Publication Date: December 12, 2017Order at Indiebound!
Order at Amazon!
Order at Barnes and Noble.Legendary infiltration journalist Harmon Leon is at it again, this time teaming up with ferocious political cartoonist Ted Rall answer the question most of America has been asking: "What the hell happened in 2016?" In their new book, Meet the Deplorables: Infiltrating Trump America, Leo…

Publication Date: July 26, 2016Order at Amazon!Everyone in America thought they knew Donald Trump: the real estate magnate, reality TV star and bigger than life personality lived his life in the tabloids. Little did they know - though he hinted at it repeatedly - that he planned to take American politics by storm. This graphic biography explores the little-known episodes that helped form…

Publication Date: January 19, 2016Order at Amazon!As a kid growing up in Brooklyn, Bernie Sanders was surrounded by grinding poverty that turned families against each other as they scrimped and saved to pay their bills.Bernie saw politics as his chance to give a decent life to everyone, not just those born to wealth or the lucky few who hit it big. But the Democratic Party and the co…

Publication Date: August 25, 2015Order at Amazon!As many as 1.4 million citizens with security clearance saw some or all of the same documents revealed by NSA contractor Edward Snowden. Why did he, and no one else, decide to step forward and take on the risks associated with becoming a whistleblower and then a fugitive? Rall's all-comic, full-color biography delves into Snowden's early l…

An independent account—in words and pictures—of America’s longest war from the beginning of the end to the end of the beginning.I traveled deep into Afghanistan—without embedding myself with U.S. soldiers, without insulating myself with flak jackets or armored SUVs—where no one else would (except, of course, Afghans).I made two trips, the first in the wake of 9/11, the next ten years later…

How did a charismatic young president elected in an atmosphere of optimism and expectation lead the United States to the brink of revolution? From a chance encounter in the early 1980s to the Democratic primaries of 2007-08, I was one of the first to size up Barack Obama as we know him now: conservative, risk-averse and tone deaf. In The Book of Obama I revisit the rapid rise and dizzying fall of…

A revolutionary manifesto for an America heading toward economic and political collapse. While others mourn the damage to the postmodern American capitalist system created by the recent global economic collapse, I see an opportunity. As millions of people lose their jobs and their homes as the economy collapses, they and millions more are opening their minds to the possibility of creating a radica…

This autobiographical graphic novel is a collaboration between me (my story, my writing) and Bluesman cartoonist Pablo G. Callejo. Travel with me to 1984, the year I lost everything. The place is New York City. In the space of a few months, I got expelled from Columbia University, fired from my job, arrested for drugs that weren't even mine, dumped by the girl I thought was The One, and evicted. I…

My fourth cartoon collection collects the work that made me America's most controversial cartoonist. Here are the classic "dirty dozen" cartoons that shocked and awed newspaper readers after 9/11: "Terror Widows" and its sequels, "FDNY 2011," the Pat Tillman series. There is also a lengthy introduction and commentary, which includes behind-the-scenes looks at the hate mail and death threats that p…

This is the book I wanted to write instead of To Afghanistan and Back — everything you ever wanted to know about Central Asia, without having had to attend grad school — but didn't have time. Five years later, I was able to release my Central Asia brain dump, a book anyone can read cold and come away understanding the importance of the region and why it's so interesting.
Comprising travelogue, po…

The final volume in the "Attitude" trilogy of alternative cartoonists is dedicated to the first wave of webcartoonists (cartoonists whose work is exclusively distributed online). Includes interviews, cartoons and personal ephemera about some of the most exciting artists to lay pen to paper — or stylus to Wacom. Here you'll find political cartoonists, humorists and dazzling graphic experiments, and…

"Generalissimo El Busho" is my chronicle, in essays and cartoons of the most polarizing presidency in modern American history, a tragicomic week-by-week dissection of the Bush Administration's follies and crimes.I've traveled to Third World trouble spots,so I recognize a dictator when he see one. Having seized power extraconstitutionally, Bush and his cabal of corrupt businessmen made it obvi…

My first all-prose book marks the beginning of the end of my belief that the Democratic Party was redeemable. Although I have come to believe that moving beyond the duopoly is necessary, liberals and progressives who have not followed me down the radical path will find much to like here.Declaring that there hasn't been a "real" Democrat in the White House since Lyndon Johnson, I decried the hi…

The second installment in the "Attitude" trilogy of interviews, cartoons and photos of America's top alternative cartoonists emphasizes cartoonists who deploy novel approaches to humor and the comics medium. Politics are still important, but take a back seat to social commentary in this collection.Includes the work of well-known artists like Aaron McGruder, who draws the daily comic strip "Boo…

The result of painstaking research and analysis, "Gas War" is the definitive behind-the scenes story of the Trans-Afghanistan Pipeline (TAP) project. Conceived during the 1990s under Bill Clinton, the idea was for the United States to control the vast, newly-tapped Caspian Sea oil and gas reserves — which by some measures exceed those of Saudi Arabia — by building an oil and gas pipeline from Turk…

"The New Subversive Political Cartoonists" is the first volume in my '"Attitude" trilogy: the definitive record of the political cartooning scene that exploded in alternative weekly newspapers during the 1980s and 1990s. It features interviews of, cartoons by and photos and ephemera about 21 ground-breaking alternative political cartoonists who revolutionized the form. The Iowa City Gazette called…

The first book about the U.S. invasion of Afghanistan is also my first work of comics journalism, a mixed-media "instant book" comprising a 50-page "graphic novella," photos and essays.When bombs began falling on the Taliban in the fall of 2001, I traveled to northern Afghanistan, where I spent three weeks covering the U.S. bombing campaign for The Village Voice and KFI, a Los Angeles radio st…

A collection of 150 of my political cartoons published between 1995 and 2000. These pieces tackle the disappointments of the Clinton years, popular music, the dot-com boom to screwed-up relationships. I added commentary below most of the cartoons to place them into historical context.Search and Destroy includes cartoons from my transition from obscure alternative publications to big national m…

One of my personal favorites, but also my worst-selling book, this graphic novel is a homage to/parody of/updating of George Orwell's novel of totalitarian oppression 1984. I faithfully attempted to follow the structure of Orwell's classic with a new take on twisted take on dystopia. The threat to our freedom isn't some totalitarian tyrant — it's our own, lazy, easily-distracted selves, wallowing…

Ted Rall is the political cartoonist at ANewDomain.net, editor-in-chief of SkewedNews.net, a graphic novelist and author of many books of art and prose, and an occasional war correspondent. He is the author of the biography "Trump," to be published in July 2016.